Bebe Rexha Quotes

You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.

Mike Campbell and Don Henley and I wrote 'The Heart of the Matter,' which was a huge hit for Don.

I stopped writing lyrics down on paper after me and Jay-Z did 'Money In the Bank.' They're something I just hold in my mind.

Songwriter friends will be like, 'Oh my God, when are you going to put out 'Love Triangle?'' It's just been that song for me that really helped me get a lot of writing sessions and helped jump-start my writing career.

When I first started, the very first body of music I made when I got signed to Atlantic were songs with titles like 'Unify' and 'You're Special.' And there's this song that reminds me of Meghan Trainor that I wrote, about a woman's body and not conforming, when I first started in music.

I'd probably be a super wealthy guy if I had sat around writing songs and getting them placed like everyone else I know. But I write songs about people or after I meet them and they're somewhat biographical - they're fiction but also non-fiction.

There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.

It's pretty amazing to write under any circumstances when someone gives you an assignment to write a song, even if it doesn't get accepted. I've written songs a couple of times, some for Disney, that haven't actually ended up in their films, but then you're left with a song forever.

My mom eventually told me if I wanted to be in the music industry, I should start writing my own songs. At that time, I was in junior high and had no idea where to start - I was writing joke rap songs with friends. Eventually, I wrote my first song in high school, and my mom took me to go record it with one of her band member friends at his house.

I don't think people really understood what I did. And you know, in my book, 'A Helluva High Note' deals with my back story, that I was a songwriter, that I spent years trying to hone my craft and being rejected and then finally becoming a successful songwriter, record executive and publisher.

I was clear that I wanted to do music and I wanted to write songs. But I wasn't clear about how I was going to make that happen. I wrote loads of songs but didn't want to show them to anyone.

Songwriting is something that's very daunting until you have your first successful song, I think.

Things like 'Lucky Man' were never written to even be a record, let alone a hit record.

I went to America and got into a band, had success, had hits in Australia.

I have eighteen titles in the German language. I had a number one song in 1965.

I've never written a song that I thought was a hit.

I often thought that if I had been working with Mark James at American Studios, I would have had a pop hit before I ever moved out of Memphis. But that didn't happen.

I've just always been around great songwriters. To me, they were the standard.

I'm a creative person, and I've got a lot of ideas. People probably thought that my mentality was quick fame because I made 'Rack City' and it blew up fast, but I have over 1,000 songs recorded.

We lived on a farm in the English countryside, where we wrote a lot of our music. You really were treated like an artist during those days-not like product, which is now the mode.

Death Cab always gets right of first refusal on everything I write, but I tend to know early on. There's a song that has yet to be released - it might come to light at some point in the near future - that when I was writing it, I was really proud of it lyrically.

I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.

When I first got signed, I used to literally pick up a pen and pad. Write bars in my notes, even whole songs. Nowadays, I just go off the feeling.

I will write a verse or a story and bring it into a songwriting session, because that's what's big in Nashville - the collaborative part of songwriting.

I really want to make a great record, like my 'Rumours' or 'Thriller.'